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J HAROLD ROORBACH, Publisher, 132 Nassau St., N. Y. | 



A Honeymoon Eclipse 



n €omcdy in One jlct 



BY y 

MALCOLM STUART TAYLOR 



Copyright, igoo, by Harold Roorbach 



e^ 



NEW YORK 
HAROLD ROORBACH, PUBLISHER 

132 Nassau Street 
1 o\ a ■^ -^ 



'=\ 



^^ 



?^.':4^" 



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A HONEYMOON ECLIPSE. 



CAST OF CHARACTERS. 

Frederick Blount, A Young Husband. 

Flora Blount, His Young Wife. 

Mrs. Walton, Their Aunt. 

Place. — Mrs. Walton's country house. Period. — The Present. 
Time of Playing. — 30 minutes. 



COSTUMES— Modem. 



PROPERTIES. 

Table with books, magazines, newspapers, etc., on it. 3 chairs. 
Screen. Coal-scuttle, tongs, poker, etc. Hat-rack. Pictures, 
ornaments, etc., to dress the scene. Eyeglass for Mrs. Walton. 
Bell off stage. Umbrella for Fred. 



the audience. 



ABBREVIATIONS. 

In observing, the actors are supposed to face the audience. 
R. means right; l., left; c, centre; r. c, right of centre; l. c, 
left of centre ; up stage, toward the rear ; down stage, toward 
3; 111 

Two Conts HectivE, 
OCT 5 1900 ■ 



Ce^yrijfht •ntry 

SECOND copy. 



A HONEYMOON ECLIPSE. 

SCENE. — Drawing-room boxed in 3 g. Door c. in flat, backed 
with hall in 4 g. French window R. 2 e. Fireplace l. 2 e. 
Table with books and papers on it, down c. Chairs r. and l. 
of table. Screen up l. c, opposite fireplace. Fire in grate. 
Coal-scuttle, poker, tongs, etc., by fireplace. Hat-rack up c. 
against backing, in front of c. door. Chair by window r. 2 e. 
Other furniture, as desired to make the room look richly 
furnished. Mrs. Walton, a matronly looking lady, is discov- 
ered seating herself at table c. She adjusts her eyeglasses, 
and takes up a newspaper to read. 

Mrs. Walton. There, now, to read my paper. (Opens it.) 
Society news first, of course. Full of gossip and scandal, as usual, 
I suppose. (Pause, during zvhich she reads; speaks.) Um, ah, 
just as I expected. (Reads.) " Society electrified — reported 
separation of Mr. and Mrs. Frederick Blount by mutual consent 
— incompatibility of temper, say some — jealousy on both sides, 
say others." (Speaks.) And neither very far wide of the mark. 
(Folds up paper.) So it has reached the public ears at last. 
What can they be thinking of? A more wanton throwing away 
of happiness was never heard of. Of course, I knew they both 
had tempers, but that they should come to loggerheads so soon, 
and all for nothing — it seems so silly ! To me they seemed 
matched by Heaven itself. I am thoroughly downhearted about 
the affair. (Rises; puts away the paper; bell rings outside.) 
What's that, visitors? Flora's ring, surely. Come to have me 
condole with her, I suppose. Of course, she presumes that as 
I am Frederick's aunt, he has been here and told me all about it. 
Well, as I was matchmaker, I suppose I shall have to be peace- 
maker and help them out of their difficulty. (Turns up stage.) 

ENTER Flora, c. from l., in ivrap and street costume. 

Flora (throwing herself into Mrs. W.'s arms). O, Aunt 
Marie, what a blessing to find you alone — I've such a lot of 
things to tell you! (Both come down c.) 

Mrs. W. Have you, dear? Then sit down here near me. 
(Nonchalantly.) About Frederick? 

Flora (zvith great shoic of indignation). x\bout him? Not 
likelv. 



4 A Honeymoon Eclipse. 

Mrs. W. (with seeming curiosity). About what, then? Take 
off your wrap, and pull a chair up to the fire. {Aside, as she 
takes Flora's wrap up to hat-rack.) I know her — it is surely 
Fred or nothing that has brought her. (Aloud to Flora.) Now, 
then, for the news. (Sits r. of tabic.) 

Flora (temporising). Oh, well, I must warm myself first. 
(Sitting L. c. ) There is so much, you see, to tell that I — by the 
by, as you mentioned that man, you might as well tell me whether 
you have seen him lately. 

Mrs. W. Quite lately. Yesterday, in fact. 

Flora. Ah! (A moment's silence.) How is he looking? 

Mrs. W. Pretty well. Pale, perhaps, if anything. (Flora 
starts slightly. Mrs. W. nods to herself.) A little dejected. I 
can't suppose that he is happy. 

Flora (scornfully) . I can. He has obtained his coveted liberty 
again — that always counts with a man. 

Mrs. W. (ignoring Flora's outburst). With some men, per- 
haps. You are looking pale too, my dear. A little rest will do 
you good. Why not come out into the country here with me? 
So quiet. Not a sovil — I sha'n't invite any guests this year. 

Flora. I should like to, but — you are so close to my — his house 
— that — I should hate to come. 

Mrs. W. You needn't be afraid of meeting him here ; he is 
going abroad almost immediately. 

Flora (starting). Eh? Abroad? 

Mrs. W. Yes, abroad. 

Flora. But, where? t 

Mrs. W. Italy. 

Flora. Italy, why Italy? What on earth is taking him to 
Italy? (Rises abruptly, and goes over to r. window; restlessly.) 
Who is going with him ? 

Mrs. W. (coldly). I haven't asked him. 

Flora. You showed your sense. It is that woman, of course. 

Mrs. W. (icily). What woman? 

Flora. Oh, you know. That actress — Drewry. 

Mrs. W. (rising, zvith a little anger). Really, Flora, I must 
request that you do not talk to me like this. (Goes l. ) 

Flora. Why not — you are not dead to the world, I suppose ? 
You're not deaf, nor dumb, nor blind? You are a reasonable 
person, and must see how things are going? 

Mrs. W. I am not blind, but you are — most wilfully so. That 
woman, as you call her, is a most estimable person, and about to 
be married to the young lawyer at whose house Frederick hap- 
pened to dine one day. I have made minute inquiries, and I 



A Honeymoon Eclipse, 5 

believe that Fred knows as much about her as he knows about 
the solar system — and you know how ignorant he is of that. 

Flora. Stars celestial, yes ; but stars dramatic — not a bit more 
ignorant than any other man. 

Mrs. W. That's what you think, my dear. Nonsense ! Flora, 
I have questioned Fred about Miss Drewry, and he doesn't as 
much as admire her. He told me that she had high shoulders, 
and a mouth from ear to ear. 

Flora (sitting r. of table). And you were taken in by that? 
Why, that's the oldest trick of all. When men fall in love where 
they ought not, they always describe the woman to their friends 
as — " Not much to look at, you know," or something like that. 
Really, Aunt Marie, with your experience, you ought to know 
something. 

Mrs. W. (o little incensed). And you, with your experience, 
of course, know everything. (JVith contempt.) My good child, 
if I were you — (bell rings). 

Flora (suddenly). What's that! (Rising and looking ner- 
vously at door c.) Aunt Marie — his ring! 

Mrs. W. (rising). Well, what of it? Why not stay and see 
him. Flora? I am sure that if you both met, you — 

Flora (going up stage after her zvrap). Met! Do you think 
that I would stay for one moment in the same room with that 
man? (Up c.) No! Lest I should meet him, I will go into 
this room (points R. ) until he chooses to bring his visit to an 
end. I have still a good deal to say to you. (EXIT c. and r.) 

ENTER Frederick, c. from l., leaving hat, coat, and umbrella 
on hat-rack up c. 

Frederick. Ah, good-morning. Aunt Marie. 

Mrs. W. Good-morning, Fred. 

Fred, (at door, taking off gloves). Thought I heard voices. 

Mrs. W. (a little impatiently). Well, so you did. 

Fred. Ah— Mrs. Blount? 

Mrs. W. Yes. 

Fred. H'm ! In there now? (Points off r.) 

Mrs. W. I dare say. (Pause, during which both come down 
stage, Mrs. W. r. of table, Fred. l. of table, both sitting — Fred. 
first putting his gloves on the mantel at l.) 

Fred, (after struggle to keep dignity). How is she looking? 

Mrs. W. Very lovely, indeed ; but pale, I think. Why on 
earth, Frederick, don't you try to make it up with her? 

Fred. With her? You must be crazy, aunt. What! When 
she wilfully sought a quarrel with me. and openly insulted me? 



6 A Honeymoon Eclipse. 

Look here ! I loved her with all my heart ; and she deliberately 
separated herself from me. 

Mrs. W. Yet I think she is very unhappy. 

Fred. A woman without a heart is never unhappy. 

Mrs. W. Really, Frederick, I think you are very unjust. 
She— 

Fred, (rising). I'm done with her. Let's not discuss her any 
further. She can go her way — I can go mine, in future. (Goes 
a little R.) 

Mrs. W. I don't see where she is to go. A woman in her 
position is always in the wrong. 

Fred. It is her own doing. She evidently found life dull with 
me, and very cleverly sought a road out of her difficulty. 

Mrs. W. Still, you must care about her welfare? 

Fred, (doggedly). I don't, at all. 

Mrs. W. I gave you credit for better feeling than that. So 
I will tell you that she is coming here to stay with me till after 
Christmas. 

Fred, (zvith a bitter laugh). A hint to keep away. Don't be 
frightened — I am going abroad this afternoon, as you know. 

Mrs. W. I am sorry about that. I had hoped — 

Fred. Hope nothing where we are concerned. All is over and 
done with. (Goes to windoiv, r., and looks out. A pause, during 
which Mrs. W. £xes the fire, looking significantly sideways. He 
looks over to Mrs. W.) She — she has plenty of money, at all 
events. 

Mrs. W. (unconcernedly). Plenty, I should say. 

Fred, (crossing back, r. c, suddenly). You blame me. Aunt 
Marie. You think I should give in, and explain and condone the 
fact that she has maligned me cruelly; but that is not all. She 
flirted disgracefully with that hideous little brute of a captain 
last time we were at a ball together, and — 

Mrs. W. (going l. c. ). I know all about it. She says it was 
only because she was so disgusted with your behavior. You're 
a couple of babies — you ought to be taken in hand by some firm 
person, and made to behave yourselves. (Crosses past him to 
R. c.) 

Fred, (wrathfully) . Oh, she says that, does she? Well, I 
don't care what she says. (Going up c. to hat-rack.) Anyhow, 
I sha'n't keep her in suspense any longer. (Takes up hat only.) 
Some other day I may be fortunate enough to find you at home 
without her. (Comes doivn a little and offers hand.) Good-by. 

Mrs. W. (advancing and shaking his hand). Good-by, my boy. 
I'll go to the door with you. (They EXEUNT c. and L.) 



A Honeymoon Eclipse. 7 

ENTER Flora, c. from r., hurriedly. She goes down r. to 
window, opens it, kneels on chair, and leans far out. RE- 
ENTER Mrs. Walton, c. from l. 

Mrs. W. He's gone, and where is she? (Stops up c; shivers.) 
Gracious, what an awfully cold blast of air ! What do the servants 
mean by opening the windows this time of year? — and (stops 
short, looking toward ivindow). Good heavens, are those Flora's 
feet? (Laughs.) Ha, ha! Doesn't care to see him — yet hangs 
out of the window to catch one fleeting glance at the back of his 
head. Well, well! (Calls to her.) Flora, Flora, what are you 
doing there? (Flora draivs in her head, closes window, and 
looks confused.) My dear, if you had run down-stairs to the 
library, you could have seen him quite as easily, and without 
all this danger. The slightest tip would have sent you to the 
ground. How foolish ! If I had known that you wanted to catch 
a glimpse of him, I might have arranged something. I — 

Flora (petulantly). Nonsense! It was mere curiosity — noth- 
ing more. (Stamps her foot.) How horrid you can be, Aunt 
Marie! (Impetuously.) Well, what did he say? Abused me as 
usual, I suppose? 

Mrs. W. He didn't spare you, certainly; but he was just, I 
think. (Sits L. of table.) 

Flora (angrily). Thank you! He was not only just, as you 
call it, but evidently in the highest spirits. I could hear his 
hateful voice out there. (Sits r. c. and places hat upon table.) 
Well — er — how is he looking? 

Mrs. W. (laughing). Ha, ha, ha! 

Flora (regarding Mrs. W. witit disfavor). What have I said 
to make you laugh? 

Mrs. W. Not much. Only, that is the very first question that 
he asked about you. 

Flora (angrily). How rude of him! And you? I hope you 
said I was never looking better. 

Mrs. W. Yes, I said you were iii robust health, and didn't 
seem to care a pin about anything connected with him, at all 
events. 

Flora (disappointed). Oh, did you? 

Mrs. W. That was right, wasn't it? 

Flora. Quite right. Fancy his wanting to know how I looked ! 
For what, I wonder? 

Mrs. W. " Mere curiosity," my dear, of course — the same 
feeling that made you nearly throw yourself out of the window 
just now, simply to catch a fleeting vision of the back of his 
detested head. 



8 A Honeymoon Eclipse. 

Flora (tartly). If you think it was anything else, you — 

Mrs. W. My dear girl, I don't; how could I? 

Flora. And — and it is true that he is going abroad? 

Mrs. W. Quite true. He starts this afternoon. So you are 
safe to come here and stay with me over Christmas. In fact, I 
made it safe for you — I told him you were to be with me all the 
time. 

Flora. And he? 

Mrs. W. Said that alone would be enough to keep him from 
coming here. 

Flora (shocked). He said that? (Recovers herself, and rises 
haughtily.) I'm glad he has some sense of decency. (Crosses 
over R. to window; sits down and looks out thoughtfully. Voices 
are heard outside. She starts.) Good heavens! Aunt Marie — 
Oh, you told me he had gone to Italy ! 

Mrs. W. Well, so he has. 

Flora. He hasn't — he's here — he's coming up the stairs ! 
(Springs to her feet and looks around distractedly.) Where 
shall I go? 

Mrs. W. He is coming, sure enough. (Rises.) Bless me, 
what liars men are ! And he declared to me — 

Flora. Never mind what he declared — never mind anything — 
think of me! (Wrings her hands before Mrs. W.) I can't go 
out of the door, or I'll meet him face to face. (Goes down t.) 
Oh, why do they build rooms with only one way out ! If there 
were another door, I might — 

Fred, (outside). All right, don't trouble yourself; I'll get 
them myself. 

Flora. Aunt Marie, I'm undone ! (Sees screen near fireplace.) 
No, I shall be secure behind this. And don't keep him long — 
and — 

Mrs. W. (wildly, trying to prevent Flora from going behind 
screen). But, my dear, he will probably say all sorts of things 
— and you will be listening — and — (Flora gets behind screen). 
Good gracious ! It isn't fair. It will be dreadful — 

Flora. I shall put my fingers in my ears. (In a stage whisper.) 
Betray me at your peril. 

ENTER Frederick, c. from l., going to hat-rack up c. 

Fred, (up c). Beg pardon. Aunt Marie — but I left my coat 
and umbrella. I was so distracted — forgetful, I should say — I 
thought I'd come back for them. 

Mrs. W. (flustered). Oh, yes — but — ah — I thought you had 
gone to Italy. 



A Honeymoon Eclipse. 9 

Fred, (coining down c). Too late for the train — beastly 
nuisance! {Looks around furtively.) But — a — I thought — er — 
heard voices as I came up the stairs. 

Mrs. W. Did you ? Probably the maid on the next landing. 

Fred. My gloves— (/ooA;j over at mantel). Ah, on the mantel. 
{Goes for tliem, but she takes the gloves before he reaches the 
mantel.) 

Mrs. W. Yes, he — here they are. 

Fred, {takes gloves). Thank you. (Stands r. of table, putting 
them on.) 

Mrs. W. (aside). Will he never go! As for her putting her 
fingers in her ears. I don't believe a word of it. (Pokes fire.) 

Fred, (taking Iiis hat). Flora was with you? 

Mrs. W. Yes— 

Fred. Gone out for a walk? 

Mrs. W. Yes. (Sees Flora's hat, and contradicts herself.) 
No, no! In retirement. (He sits down, r. of table. Mrs. W. 
groans in distrcss^, but turns it into a sneeze.) 

Fred. Ah, a little cold ? 

Mrs. W. Yes ; this fire doesn't seem to burn up. 

Fred. Let me poke it. (Rises and starts l.) 

Mrs. W. (standing l. and keeping him back with the poker). 
Oh, no, no — really, you needn't mind — I — ah — assure you I can 
poke it all right. (Pokes fire again, and shakes poker at Flora, 
zvho is seen crouched behind the screen with her fingers in her 
ears. ) 

Fred. Flora isn't ill, is she? (Sifting r.) 

Mrs. W. (going to liini). Really, Frederick, considering the 
terms that you and Flora are on, I think it a little — well — a little 
odd of you, to say the least, to cross-examine me about her like 
this. Such anxiety about her health, on your part, is hardly to 
be expected. (Goes up r.) 

Fred, (rising). Anxiety — on my part? I can't imagine what 
you mean by that. (Goes over to fireplace, and leans against 
mantel with his back toward the screen.) 

Mrs. W. (turns and sees him; is frightened ; then stammers). 
D — d — don't stand there — so very bad for your complexion. 

Fred, (turning his back toward fire). I'm chilly. (Absently.) 
Anxious about her — the woman who wilfully deserted me ; who — 

Mrs. W. (frantically). Once for all, Frederick, I decline to 
discuss your wife. Talk of taxation, servants, the education 
of the lower classes — any abominable subject you like, but not of 
Flora. 

Fred, (obstinately) . I can't help it. You began it. You sug- 



JO A Honeymoon Eclipse. 

gested that I did or should feel anxious about Flora, and I insist 
upon showing you why — 

Mrs. W. I quite understand, I assure you. 

Fred. No, you don't. You can't, or you wouldn't have spoken 
to me as you did. A man more barbarously treated than I have 
been — (The screen is seen to shake.) 

Mrs. W. (down r.). Of course! Of course! (Aside.) Oh, 
these young women and their fingers in their ears! (Very ner- 
vous.) 

Fred. Eh, what's that? 

Mrs. W. I'm not well, Frederick. I'm tired. I've toothache, 
neuralgia, sciatica, lumbago, tic-douloureux, everything. (Franti- 
cally.) I wish you would go away! 

Fred, (looking at her sceptically). You look all right. What 
3'ou really mean is that you — don't want to hear my exculpation. 
I don't blame you. She has been priming you with abuse of me, 
of course; but I insist upon setting myself right with you. You 
think that Flora is in the right, but she isn't. It is I who am in 
the right. (Strikes his clenched fist against liis breast.) 

Mrs. W. (aside, turning away from him). Good heavens, how 
long is this to last! (The screen is seen to shake.) 

Fred, (violently). Look here! Once for all, you shall know 
the truth. She married me, not knowing her mind, which seems 
of a poor sort ; and, tiring of me, she sought to regain her 
liberty. She never believed that story about me, but it served as 
a pretext for her plan. She deliberately broke off all relations 
with me, simply to suit herself, and with a full belief in her 
inmost heart that I was innocent of the ridiculous charge that 
she laid at my door. She — (The screen falls, revealing Flora 
standing, furious with rage. Mrs. W. falls into her chair R. c, 
half fainting. Fred, steps back in astonishment, stepping into the 
coal-scuttle, zvhich he kicks away. Pause. Picture.) 

Flora (advancing and looking at him sternly). How dare you 
say that! (He looks sheepish, but makes no reply; she turns to 
Mrs. W.) And you — you listened to him, applauded him, took 
his part — you said that I had treated him barbarously ! (Crossing 
past Mrs. W. to R., grieved.) Oh, Aunt INIarie ! 

Mrs. W. (apologizing confusedly). Yes, no, that is, I — 

Fred, (advancing L. c. toward Mrs. W.). And you knew she 
was there all the time (looking scornfully at her, she returning 
his look). You let me say what was in my mind without even 
trying to check me. You — 

Mrs. W. (rising to her feet, indignantly ; sternly). Once for 
all, I am done with you ; yes, both of you — you are ungrateful, 
worthless, heartless. Hitherto I have done what I could for you. 



A Honeymoon Eclipse. JJ 

In the future you shall manage your own affairs without assist- 
ance from me. You may make use of this room — this house — 
anything of mine — but ne — never again, never! {Goes up c. and 
EXIT.) 

Fred, (to Flora). There, you've done it again, as usual! 

Flora (going r. c. ). Done what? I've done nothing. It is 
you who have done everything. And not satisfied with having 
insulted me, you come here and abuse me to Aunt Marie behind 
my back. 

Fred. I spoke only the truth. And you — was it fair to hide 
behind a screen and listen to what wasn't intended for you? 
(Hotly.) There's an ugly word for that, you know. 

Flora. I don't care what ugly names you call me — your opinion 
has ceased to be of any importance. And I wasn't listening. I 
kept my fingers tight in my ears until you had been here for 
hours. Then my arms tired, and I — 

Fred. Hours? Bah! (With sardonic laugh.) I like that! 
I say, I haven't been here twenty minutes — 

Flora. Oh, you could say anything! i^Crosscs past him con- 
temptuously and sits in chair R. of table, taking up magazine and 
reading it indifferently.) 

Fred, (stands r. c. ; mockingly) . Well, not a word of refuta- 
tion? You acknowledge, then, that I spoke only the bare truth 
when I said that you sought to get rid of me because you were 
tired of me? 

Flora (deliberately) . To refute that, I must be rude — I must 
say that you are not telling the truth. But that, after all, is 
scarcely a rudeness — you know it without my telling. 

Fred. I know nothing of the sort. If there is an untruth any- 
where, it belongs to the person who told you that I had anything 
whatever to do with Miss Drewry. 

Flora (starting to her feet, and facing him angrily). I forbid 
you to mention that woman ! 

Fred. I see no reason why I shouldn't. 

Flora. And all those frequent journeys to town a few days 
after we were married? 

Fred. Business took me to town on every occasion. 

Flora (scornfully). Why can't you think of something new? 
Business ! Was there ever a case of this sort when " business " 
wasn't the excuse for it? 

Fred, (sneeringly). I wonder who your monitress is! She 
ought to be proud of her pupil — she has taught you a good deal 
of stuff. 

Flora (stamping her foot). I won't be sneered at by you! I 



L.ofC. 



J 2 A Honeymoon Eclipse. 

came here, hoping to avoid you, and— (pause; then suddenly). 
What brought you here to-day? 

Fred, (doggedly). To see you. 

Flora (struggling to suppress eiiiofiou; then bursts into zveep- 
ing). Ah! 

Fred, (making a move totvard her). Flora! 

Flora (sobbing). Don't attempt to call me by my name — and 
don't think that I am crying because of you ! No, it is my self- 
esteem that is hurt. I cannot forget that I once — ■ (She breaks 
down completely.) 

Fred, (sadly). Did you once love me? Then what is all this 
about? Flora, listen to me! From the day of our engagement — 
nay, from the day when we first met — I had no thoughts for any 
but you. I declare it! What can I say more? 

Flora (zcith a little despairing gesture). Oh, it is too late! 
There are so many things not to be forgotten. 

Fred, (zvith spirit). Quite true, there are many things; but 
as to their not being forgotten, well — there was your flirtation 
with that army fellow ! 

Flora (straightening up). Captain Pierrepont? Nonsense! 
I defy you to think that I meant anything by that — that hideous, 
foolish, pale-eyed creature — (laughing). 

Fred, (laughing). Yes, he wasn't handsome. 

Flora (stopping short; austerely). It is growing late; are you 
going? (Crosses past him to table.) 

Fred. Not at all. I hope that Aunt Marie, in spite of all that 
has come and gone, will give me my dinner. (Puts hat and gloves 
upon table.) 

Flora. But I am to stay here. (Takes up hat.) 

Fred. Well—? 

Flora. I suppose you mean me to have no dinner? 

Fred. On the contrary, I hope that you will dine with me. 
Considering what I have already endured from you, I think you 
will prove a very desirable addition to the feast. 

Flora. Well, I sha'n't dine with you. (Tzvirls hat.) 

Fred, (suddenly). Why not. Flora — is it so irremediable? 
Think ! We were happy once, and — (she turns away and bursts 
into tears.) O my dear, you are crying again! (Advancing and 
holding out his arms.) Make it up with me, Flora, and we'll let 
the past go by. (He puts his arms about her as she turns away.) 

Flora. Oh, but is it true that you — that I — that it was all 
untrue about that woman? You will never forgive me! (Tries 
to draw azvay.) 

Fred. Try me. What is there I wouldn't forgive you? But, 
oh. Flora, how could you have thought it? 



A Honeymoon Eclipse. 13 

Flora. I didn't want to think it — but — (turns, looks in his 
face, drops hat, and throws her arms about his neck) — Freddy! 
Fred. Flora! (He kisses her.) 

ENTER Mrs. Walton, c. ; she stops short, raising hands, yet 
showing pleasure. 

Mrs. W. That's right. Kiss and make up, like good children. 
(She comes down c.) 

Fred. We have ; for, thanks to you, dear Aunt Marie, we have 
seen the folly of our misunderstanding and have come from under 
the shadow of A Honeymoon Eclipse. (He takes Mrs. W.'s 
hand, she taking the hand of Flora.) 

Fred. Mrs. W. Flora. 

CURTAIN. 



^'^'%^%'%/^^'^* 



Dramas and Comedies 

(15 CENTS EACH.) 

M.F 
Imogene; or, The Witch's Secret. Strong and realistic drama; , 

acts; 2^ hours 8 4 

Crawford's ■'Claim "("Nugget Nell"). 4 acts; good, rattling 

Western drama ; 2% hours. g 3 

Tried and True. Drama of citj life ; 3 acts ; 2^^ hours 8 3 

" Strife ! " (" Master and Men '). The great Labor drama; 3 acts ; 

2^^ hours , g 4 

Under a CiOUd. Bright and pleasing comedy-drama; 2 acts: 1% 

hours 5 3 

Saved From the Wrecl<. Drama; serio-comic; 3 acts ; 2 hours 8 3 

Between Two Fires. Drama; military plot ; 3 acts ; 2 hours 8 3 

By Force of Impulse. (" Off to the War "). Comic and emotional ; s 

acts ; 2% hours 9 3 

The Woven Web. Drama; strong and sparkling; 4 acts ; 2j^ hours... 7 3 
Uncle Torn S Cabin. An old favorite, re-written so that it can be 

played in any hall ; 5 acts ; 2% hours 7 5 

My Awful Had. A side-splitting comedy ; 3 acts , 2 hours 6 6 

"Engaged." Society comedy; full of burlesque fun; 3 acts; a5i hours.. 5 5 
The Wanderer's Return ("Enoch Arden"). Drama, with a strong 

plot and effective characters ; 4 acts ; 2% hours 6 4 

The Cr'Cltet on the Inearth. Dickens' storydramatized; 3 acts; 2 hours. 6 6 
'■ Single " Life. Uproariously funny comedy ; bachelors and spin- 
sters ; 3 acts ; 2 hours '. 5 5 

IVIarried Life. A companion piece, equally comic ; 5 married 

couples ; 3 acts ; 2 hours 5 5 

"Our Boys." Comedy; always succeeds; 3 acts ; 2 hours 6 4 

Miriam's Crime. Excellent serio-comic drama, with mirth as well as 

pathos ; 3 acts ; 2 hours $ 2 

Meg's Diversion. Drama; pathetic, humorous and picturesque; a 

acts; iK hours 5 3 

A Scrap of Paper. Comedy ; full of healthy fun ; 3 acts; 2 hours.... 6 6 
Woodcock's Little Game. Farce-comedy; extravagantly funny; 3 

acts ;i hour 4 4 

Lady Audley'S Secret. Emotional drama from Miss Braddon's novel ; 

2 acts, I '^ hours 4 3 

Not So Bad After All (" Is Marriage a Failure ? "). Comedy ; 3 acts ; 

2 hours CO. 6 5 

Timothi Qelano'S Courtship. Yankee Comedy; 2 acts ; i hour 2 3 

Sweethearts. A beautiful comedy combining fun and pathos ; 3 acts ; 

I hour 2 2 

Unjie Jack. Drama; comic, with a good moral ; i act; 1% hours.... 3 4 
Rebecca and Rowena. Burlesque comedy dramatized from Scott's 

" Ivanhoe " ; 5 acts ; i hour 3 3 

Home, Comedy ; fresh dialos^ue and genuine humor combined with a 

very strong plot ; 3 acts ; 2 hours 4 3 

Caste. Comedy that always delights the public; 3 acts ; 2% hours... 5 3 
The Triple Wedding. Short, excellent drama of home life; 3 acts; 

ii{ hiHirs 4 4 

All that Glitters is Not Gold (" The Factory Girl'). Comic Drama 

of great fore 3; 2 acts 6 3 

Not Such a Fool as He Looks. Comedy; alternate sentiment and 

riiaring fun ; 3 acts ; 2M hours 5 4 

dOlon Shingle (" The People's Lawyer "). Yankee Comedy; 2 acts; 

i'^ hours 7 2 

Out in the Streets. Drama; always received with enthusiasm; 3 

acts; I hour 6 4 

Broken Promises. 5 acts ; a strong temperance play of unflagging in- 
terest, relieved with much eccentric humor; i54^ hours 6 3 

Ten Nights in a Barroom, sacts; plays 2 hours; new and simplified 

version of an old favorite that will draw hundreds where other 

plays draw dozens 7 4 

HAROLD ROORBACH, Publisher, 133 Nassau St., N. Y. 



t 



Dramas and Comedies 

(AT 25 CENTS EACH.) M. F. 

Breaking His Bonds. Strong Drama with comic underplay; 4 acts; 

2 hours 6 3 

The Jail Bird. Drama of city life, containing a vivid plot with well 

diversified interest ; 5 acts ; z^i hours 6 3 

Golden Gulch ("The Government Scout"). Drama that combines 

fun, sentiment and exciting situations ; 3 acts ; 2% hours 11 3 

The Man from Maine. Comedy-drama with a wide-awake hero from 

" down East " ; 5 acts; z}i hours 9 j 

Shaun Aroon. Stirring Drama of Home Life in Ireland; 3 acts; 2 

hours 7 3 

" The Deacon." Comedy-drama that is simply immense ; old-man 

leading character; 5 acts ; zl4 hours 6 6 

What's l^ext ? Farce-comedy ; 3 acts ; plays 150 minutes ; raises 150 

laughs 7 4 

The New Partner. Comedy-drama ; strong plot moving episodes and 

roaring comedy ; 3 acts ; z'A hours 8 4 

Josiah's Courtship. Farcical Comedy-Drama; uproarious comedy 

features alternate with forceful, but not heavy, pathos ; 4 acts ; 

2 hours 7 4 

&in Go Bragh. An up-to-date Irish Drama in j acts ; plays 2 hours ; 

both serious and comic in scope ; not sensational 5 4 

Plays for Female Characters Only 

(15 CENTS EACH.) M. F. 

Who's to Inherit ? i act ; brisk and comic 9 

Mrs. Willi?' Will, i act ; neat, funny and bright 5 

My Aunt's heiress, i act ; has a " Cinderella " plot n 

The "Sweet" Family, Musical, wise and otherwise; will make a 

mummy laugh 8 

A Lesson in Elegance (" The Glass of Fashion "). Society comedy ; 

I act 4 

Murder Will Out. i act ; humorous, with a moral 6 

A Slight Mistake, i act ; enforces a moral in a comic way $ 

Fast Friends, i act ; society quarrel and reconciliation 2 

A Fair Encounter, i act ; bright, with a diamond-cut-diamond plot., 2 

Plays for Male Characters Only 

(15 CENTS EACH,) _ _ M. F, 

The Lost Heir, Drama in 3 acts ; excellent plot of unflagging interest. 10 

" Medica." Roaring farce in i act ; sure to please 7 

Wanted, A Confidential Clerk, Farce in i act; comic and spirited.,. 6 

Old Cronies. Farce in i act ; rollicking fun all through 2 

April Fools. Farce in i act ; brisk, bright and comic 3 

The Darkey Wood Dealer. Farce in i act ; always scores a success... 3 

Mischievous Bob. Comic drama in i act ; good moral 6 

The Wrong Bottle. Temperanca sketch in i act 2 

Well Fixed for a Rainy Day. Temperance Drama in i act 5 

The Harvest Storm. Drama in i act; strong in its interest, with a 

comic underplot 10 

Furnished Apartments. Farce in i act ; very laughable in its absurd 

complications S 

The Widow's Proposals. A" Widow Bedott " farce in i act 3 

A Manager's Trials. Farce in i act ; creates shouts of laughter g 

The Bachelor's Bedroom (" Two in the Morning'). Farce in I act . . 2 

The Dutchman in Ireland, Farce in i act ; good characters 3 

The N:gger Night School. Farce in 1 act; a "screamer" with 

specialties 6 

A Holy Terror. Farce in i act; white or black faces; specialties can 

be worked in ; uproariously funny 4 

HAROLD ROORBACH, Publisher, 132 Nassau St., N. Y. 



I 



Exhibition Drills and Marches 

(IS CENTS EACH.) 

The Bootblack Drill. A comic novelty drill for several boys or girls repre- 
senting bootblacks. It is a living picture from real life, done in motion. 

The Clown's Horn Drill. A fantastic drill and march for boys or young 
men. The performers represent clowns who go through a comical man- 
ual, with tin horns. Contains, also, a dumb-bell exercise which may be 
retained or omitted. 

A Dutch Flirtation. A handkerchief drill for small girls, which carries out 
a clever little comedy in movement. Simple, and sbort enough for little 
folks to execute without fatigue, and is at once graceful and comical._ 

The Indian Huntresses. A bow and arrow drill for girls of any age. Pict- 
uresque, with graceful figures and tableau effects. 

lohn Brown's Ten Little Injuns A tomahawk march and drill for small 
boys or young men. The march, manual and chorus are all done to the 
old tune of the same name. Comic. 

The March of the Chinese Lanterns. A spectacular novelty drill and march 
for girls or young ladies. The drill and calisthenics are novel, and the 
march forms various graceful figurefi and pretty tableaux. 

Maud Muller Drill. A pretty pantomime drill for young ladies and gentle- 
men. Appropriate passages selected from Tennyson's poem are recited 
by a reader, while the story is acted out in marches, motions and poses. 

Red Riding Hood Drill. A novelty story in drill and song, for little folks. 
The story is represented in pantomime, with various figures, poses, mo- 
tions and short songs. 

Spring Garlands. A flower drill for young people of both sexes, represent- 
ing maids and gallants of ye olden tyme. Graceful calisthenic poses, 
evolutions with garlands and pretty marching figures, make -'. very pict- 
uresque and old-time effect. 

The Turk-ey Dril I . A nonsense comedy song-drill for boys or young men ; a 
suggestion of Thanksgiving Day. 

The Vestal Virgins. A spectacular taper-drill for girls or young ladies — a 
Sybil and any number of virgins. Works out a classic theme with pretty 
effect. Interwoven are pose-studies, marching figures and a gallery of 
the Muses. 

The Witches' March and Broom Drill. A fantastic drill for girls or young 
ladies, presenting a succession of contrasts in movement and poM. It is 
quite novel and striking. 



Various Entertainments 

(3!5 CENTS EACH.) 

The Japanese Wedding. A pantomime representation of the wedding cere- 
mony as it is done in Japan. Requires 13 performers and lasts about 50 
minutes. Is exceedingly effective. 

An Old Plantation Night. A musical and elocutionary medley for a double 
quartet. Is not a " minstrel " show, but represents the life of the old- 
time darkies, interspersed with song and story. 

The Gypsies' Festival. A musical entertainment for children, introducing 
the Gypsy Queen, Fortune-teller, Yankee Peddler, and a chorus of Gyp- 
sies of any desired number. 

The Court of King Christmas. A Cantata for young folks, representing the 
Christmas preparations in Santa Claus land. Young people, from six to 
sixty, are always delighted with it. 

King Winter's Carnival. An operetta for children, with 10 speaking parts 
and chorus. The action takes place in King Winter's apartments at the 
North Pole. Ends in a minuet. 

The Fairies' Tribunal. A juvenile operetta for 9 principal characters and a 
chorus. Interspersed are pretty motion-songs, dances and marches, a 
drill and some good tableaux. Entertains both old and young. 




HAROLD ROORBACH, Publisher, 132 Nassau St., N. Y. 



"JUST FOR FUN" 

An Up-to.Date Society Comedy in Three Acts, by ELEANOR MAUD CRANE 

PRICE, 15 CENTS 

Just for Fun is just the thing for amateur companies with ambitions above the 
levelof the one-act comedy. It is a clever representation of a phase of society life in 
New York. The dialogue is bright, the incidents are funny, and every character is 
prominent. The play is so easily staged that it can be done in a parlor without 
scenery. Its success in New York last winter was so pronounced that it is cheerfully 
recommended to all clubs in other parts of the country. 

DRAMATIS PERSONiE 

Mrs. Fitzgerald Mandeville de Smythe . . a Would-Be Society Leader 

Miss Edith Morton, her niece a Western Heiress 

Miss Mabel West a Friend of Miss Morton's 

Jane McCarthey an Irish Maid-Serrant 

Lord Chelsea ...,.•... nn English Nobleman 

Jack Earl, /i/.ry>-/V«rf a Happy-Go-Lucky Fellow 

Time. — The Present. Place. — New York City. 
Time of Representation. — Two Hours. 

SYNOPSIS 

Act I. — In the course of which the audience learns how, for reasons of her own. 
Miss Morton persuades her friend Miss West to change places with her, and Lord 
Chelsea and Mr. Earl decide to borrow each other's names and positions for a month. 

Act II. — During which Miss West plays eavesdropper, Mr. Earl learns a great 
secret, and Jane makes a revelation to Mrs. de Smythe. 

Act III. — In which the complications are straightened out to the satisfaction of 
all concerned, including the audience. 

SNOBSON^S STAG PARTY 

A Farce in One Act, for 12 Male Characters, by L. C. TEES 

P RICE. 15 CENTS 
DRAMATIS PERSONiE 

Nicholas Snobson the Old Crank Who Gives the Party 

Clarence Mountjoy his Gay and Festive Nephew 

Ebeneezer Snowball ....... a Mischievous "Coon " 

Julius Dinkelspiel a Guest from the Fatherland 

Fazio Spaghetti a Dago Without the Monkey 

Henry Hawkins a Blarsted Henglishman 

Mrs. Hezekiah Chickenstealer, an unexpected guest from 

Thompson Street Female Impersonator 

Mrs. Michael Moriarty, /ro>n Shantytoivn^ likeunse unex- 
pected , . . . , Female Impersonator 

Jim Scrapper a Tough Gent from the Fourth District 

Alfonso Heavyweight . ....... a Crushed Tragedian 

Bill Ballotbox ..... .... a Ward Politician 

Time. — The Present. Place. — New York. 
The piece will run about one hour, if played " straight." With specialties (which 
are provided for) it can be lengthened according to talent. 

THE KEY TO THE FUN 

Nicholas Snobson, a rich and eccentric woman hater, lives m seclusion with his 
lively nephew and a mischievous darky servant. Snobson is induced to give a 
party — a stag party, because he won't have a woman on the premises. Being without 
friends, he selects the guests at random from the city directory and dispatches his 
invitations. Soon the company, of all colors and every race, begin to arrive, including 
two ladies — white and black — who getiu by mistake, and the "party" begins. Aftei 
a succession of comical incidents and specialties Bill Ballotbox, the ward leader, 
arrives with a brass band and a political delegation, and the fun culminates in a 
regular v/ar dance. 

Harold Roorbach, Publisher, 132 Nassau Street, New York 



TOWN SEN 

"AflATEUR THEy 



LIBRARY OF CONGRESS 

II mil mil mil mil nil nil 



016 165 835 2 <r 



A Practical Guide /or Amateur Actors. 
PRICE. 25 CENTS. 



I 



This work, without a rival in the field of dramatic literature, covers the en- S 
tire subject of amateur acting, and answers the thousand and one questions that X 
arise constantly to worry and perplex both actor and manager.- It tells how to • 
select plays and what plays lo select; how to get up a dramatic club— whom to 
choose ai.dwhom to avoid; how to select characters, showing who should assume 
particular roies ; how to rehearse a play properly— Including stage business, by- 
play, voice, gestures, action, etc. ; how to represent all the passions and emo- 
tions, from Love to Hate (this chapter Is worth many times the price of the book, 
as the same information cannot be found in any similar work); how to cnstume 
modern plays. All is told in such a plain, simple style that the veriest tyro can 
understand. The details are so complete and the descriptions so clear tliat the 
most inexperienced can follow them readily. The book is full of breezy anecdotes 
that Illustrate different points. But Its crowning merit Is that it is thoroughly 
PRACTICAL— It is the result of the author's long experience as an actor and man- 
ager. Every dramatic club in the land should possess a copy of this book, and no 
actor can afford to be without it. It contains so much valuable Information that 
even old stagers will consult It with advantage. 

HELMER'S 

ACTOR'S MAKE=UP BOOK. 

A rractical and Systematic Guide to the Art of Making-uf for tke Stag*. 

PRICE, 25 CENTS. 

Facial make-up has -nuch to do with an actor's success. This manual la a perfect ! 
encyclopedia of a branch of knowledge most essential to all players. It is well 
written, systematic, exhaustive, practical, unique. Professional and amateur ' 
actors and actresses alike pronounce it thb best make-up book ever published. ( 
It is simply Indispensable to those who cannot connmand the services of a per- 1 
ruquler. 

CONTENTS. 

Chapter I. Theatrical Wigs.— The Style and Form of Theatrical Wigs and ' 
Beards. The Color and Shading of Theatrical Wigs and Beards. Directions for< 
measuring the Head. To put on a Wig properly. 

Chapter II. Theatrical Beards.— How to fashion a Beard out of Crepe Hair. 
How to make Beards of Wool. The growth of Beard simulated. 

Chapter III. The Make-uf.— A successful Character Mask, and how to make ! 
it. Perspiration during performance, how removed. ' 

Chapter IV. The Make-up Box.— Grease Paint . Grease Paints In Sticks; Flesh' 
Cream; Face Powder; How to use Face Powder as a Liquid Cream; The various ( 
shades of Face Powder. Water Cosmetique. Nose Putty. Court Plaster. Cocoa ( 
Butter. Crepe Hair and Prepared Wool. Grenadine. Dorln's Rouge. "01d( 
Man's" Rouge. "Juvenile" Rouge. Spirit Gum. Email Noir. Bear's Grease. 
Eyebrow Pencils. Artist's Stomps. Powder Puffs. Hare's Feet. Camel's-hair ] 

Chapter V. f he Features and their Treatment.— The Eyes : Blindness, fhe ' 
Eyelids. The Eyebrows : How to paint out an eyebrow or mustache; How to ( 
paste on eyebrows; How to regulate bushy eyebrows. The Eyelashes : To alter ( 
the appearance of the eyes. The Ears. The Nose: A Roman nose; How to use i 
the nose putty; a pug nose; an African nose; a large nose apparently reduced In , 
size. The Mouth and Lips : a juvenile mouth; an old mouth; a sensuous mouth; , 
a satirical mouth; a one-sided mouth; a merry mouth; a sullen mouth. The 
Teeth. The Neck, Arms, Hands and Finger-nails: Finger-nails lengthened. 
Wrinkles : Fiiendllness and Sullenness indicated by wrinkles. Shading. A I 
Starving Character. A Cut in the Face. A Thin Face made Fleshy. ( 

Chapter VL Typical Character Masks.- The Makeup for Youth; Dimpled ( 
Cheeks. Manhood. Middle Age. Making up as a Drunkard : One method; an- 
other method. Old Age. Negroes. Moors. Chinese. King Lear. Shylock. Mao- , 
beth. Richelieu. Statuary. C1o\\ti8. 

Chapter VIL Spkoial Hints to Ladies.— The Make-up. Theatrical Wigs and \ 
Hair Goods. 

}^^ Copies of the above will be mailed, post-paid, f" any address, on\ 
receipt of the annexed prices. 

HAROLD ROORBACH, Publisher, 13a Nassau St., N. Y. 



